In the Warcage war is a game, brutal, savage and sudden. In the Warcage three hundred worlds orbit a single artificial star, three hundred battlefields where different species vie for mastery and triumph. In the Warcage, all bend the knee to the Lords of Permutation or suffer indescribable agonies. In the Warcage Randal Pyke, captain and smuggler, must find a way to fight his way to freedom. Because in the Warcage the game of war is played to the death – and beyond.

…and Mike offers up a little further insight into the WARCAGE, thus -  ‘The original idea behind WARCAGE actually goes back 26 years when I came up with the idea for an immense artificial star system full of planets. I even built a plastic model of it, which was sadly lost in one of my more recent moves. Suffice to say that with scores, even hundreds of planets, and a twisted and savage background, the unfolding drama will be action-packed and resonant with meaning.‘

Anne Clarke, Editorial Director for Orbit UK, says, ‘We’re all delighted with the continuing success of Michael’s superb Humanity’s Fire series, and we’re very excited about WARCAGE and looking forward to sharing it with Mike’s fans next year. Michael Cobley is becoming an increasingly important name in science fiction, so we’re extremely happy that our colleagues in the US will be on this adventure with us too.’

That notwithstanding, we’ve been beavering away and are delighted to announce a few deals that we’ve recently concluded…

• James P. Blaylock‘s first novel length Steampunk story in twenty years has sold to Titan in a world English deal negotiated by John Berlyne. THE AYLESFORD SKULL, which features further  gaslight adventures of Langdon St. Ives and his nemesis Ignatio Narbondo will be published by Titan late next year or early 2013. A limited edition is also planned. In addition to THE AYLESFORD SKULL, Titan will also be re-issueing two Blaylock steampunk classics, the 1988 Philip K Dick Award winning HOMUNCULUS and also LORD KELVIN’S MACHINE. Audio rights for all three novels went to Stacy Patton Anderson at Audible.
• Titan have also acquired world English rights (excluding India) to TURBULENCE and an UNTITLED sequel by Samit Basu. Publication is set for Feb 2012.
• Audible will release an audiobook edition of Ian R. MacLeod‘s WAKE UP AND DREAM along with two earlier MacLeod novels THE SUMMER ISLES and THE GREAT WHEEL.
• Audible also picked up audio rights to the third novel in Michael Cobley‘s HUMANITY’S FIRE series, THE ASCENDANT STARS. German rights for this title went to Heyne via Thomas Schluck.
• Sheila Gilbert at DAW Books has acquired World English rights to  Kari Sperring‘s THE GRASS KING’S CONCUBINE and an UNTITLED sequel in a nice  deal negotiated by John Parker.
• German rights to Freda Warrington’s ELFLAND sold to Carl Ueberreuter Verlag GMBH via Paul & Peter Fritz AG.
• French rights to the first three novels in Ben Aaronovitch‘s best selling RIVERS OF LONDON series went to J’ai lu via Lora Fountain. Orion have sold rights to the series in Poland, Hungary and Italy.
• Also via Lora Fountain, French rights to Ian McDonald‘s PLANESRUNNER sold to Gallimard Jeunesse.
• The Library of America will publish the Algis Budrys‘ classic SF work WHO? as part of a reissue series to be edited by Gary K. Wolfe.
• UK / British Commonwealth rights to a new graphic novel series by Charlaine Harris and Christopher Golden entitled CEMETERY GIRL went to Jo Fletcher at Jo Fletcher Books. Jo has also acquired three anthologies edited by Charlaine Harris and Toni P. Kelner.
• US rights to Iain Sinclair‘s GHOST MILK and AMERICAN SMOKE went to Mitzi Angel at Farrar, Strauss and Giroux.
• UK /British  Commonwealth rights to two brand new titles in Elizabeth Moon‘s PALADIN’S LEGACY series sold to Orbit.

And there are plenty more things in the pipeline! More in due course.

If you’re looking to send us a fantasy novel at some point, you could do worse than look to Elizabeth’s work as an fine example of what the market is looking for right now – and courtesy of Orbit – a publisher always on the look-out for commercial fantasy, here’s some free sample chapters from the novel to help you do just that.

Elizabeth has also just contributed a guest piece to the Orbit Blog entitled ‘A Few Favourite Fantasy Dragons‘ which is well worth a look. (Hint: Dragons are hot right now – no pun intended … well, okay, a bit intended!)

King Kieri’s realm has been destabilised by political wrangling and his court is blind to the dangers – until an assassination attempt on their king. And when this backfires, Kieri’s enemies start planning an invasion using dragonfire, a force unseen for hundreds of years. In King Mikeli’s adjoining kingdom, his crown is threatened by a bandit prince. Alured the Black claims his lineage gives him dominion over all the lands. His ambition is boundless, his methods are ruthless and he will not be swayed from his goal, whether or not it undermines a region already on the brink of war. Dark mages also watch for weakness and hunger for their own lost powers. The Kings of the North must plan wisely, as disaster is a sword’s breadth away.

Audible have also acquired world rights to Michael Cobley‘s epic Space Opera series HUMANITIES FIRE, comprising  SEEDS OF EARTH, ORPHANED WORDS and THE ASCENDANT STARS. Published in the UK by Orbit and in Germany by Heyne, this series has been widely acclaimed by reviewers and reader alike.

No word yet as to who will narrate either of these acquisitions nor on when we can expect their release, but we’ll let you know as and when we’re told.

Head straight over there now, why don’t you? Below is an example of the kind of content that will be posted there, along with Mike’s  varied and insightful thoughts on whatever takes his fancy, and – most importantly – news about his novels, short stories and public appearances. Enjoy!

The post is chock full of goodies, with links to an extract from the new book, to themed wallpaper featuring Steve Stone’s superb cover art, news of author appearances and signings and also to some fantastic reviews!

Still here? Get thee hence to the Orbit Blog right away!

As well as the stalwart, energetic smaller presses, for example PS Publishing, Newcon Press, Telos, Nightjar Press, Pendragon, Atomic Fez and Ash-Tree Press amongst others who have, collectively, for many years been the only folks willing to push the horror genre, there were representatives from larger trade publishers such as Little, Brown (both Orbit and Piatkus had editorial staff present), Headline, Gollancz, Constable & Robinson, Solaris/Rebellion, Titan, Angry Robot, Quercus, and Bragelonne.

This turnout shows there’s a very real and very active interest from the trade in the horror and dark fiction fields and this is a most encouraging and tangible sign of horror’s resurgence as a going commercial concern. If this interest can translate into sales, there’s the best chance there’s been in a generation for new talent to come through.

There’s a flipside to this however that became apparent to me as I took part in the Pitch Black event on the Thursday afternoon. Set up as an opportunity for both the trading of rights and the chance for authors to pitch their work directly to agents and publishers, I likened the experience (on my side of the table at least) to being repeatedly hit in the face for five hours with a shit-covered shovel.

There is a reason for this admittedly harsh description (and it doesn’t apply to everyone I met by any means) and it comes down to simple basics. No matter how much agents and editors bang on (on panels at conventions, in interviews, in conversation or on their blogs) about the importance of doing so, many of the writers who material submit to us completely fail to consider their work within the context of the market.

Repeatedly throughout Pitch Black I asked ‘Who is the market for this novel? Who is the ideal reader? Whose readers are you looking to steal with this novel?‘ and repeatedly (and in one particular and spectacularly rude case where the person appeared incapable of grasping why the question was a fundamental one) these enquiries were met with blank looks and the scratching of heads.

Writing is by definition a solitary art – but you are not writing for yourself. Not ever. If you are then you will have a readership of one. And good luck with that.

Writing something publishable is a different kettle of fish. If you want a publisher to give you money for your work, you better be clued in to the kind of thing they publish. If your book is something entirely original, something that completely re-invents the wheel, something so new that it breaks the mould, then as an agent I can do absolutely nothing with it. If there is no market precedent then the likelihood that I can get a publisher to take a risk on your masterpiece – a masterpiece written by a complete unknown – is zero. Zilch. Nada.

Does this mean I’m looking for derivative, cloned material? Poor man’s copies of the best-sellers? Nope.

Think Dragons’ Den. Money paid to you by a publisher is an investment in your product and they expect to receive a return. It therefore needs to be something that people actually want. So, do your market research – otherwise everyone you approach will wisely say ‘I’m out’!

(Note the links I’ve provided above to the various publisher websites. That’s where your research begins – go check out what they’re up to!)

‘Darien is no longer a lost outpost of humanity, but the prize in an intergalactic power struggle. Hegemony forces have a stranglehold over the planet and crack troops patrol its hotspots while Earth watches, passive, rendered impotent by galactic politics. But its Darien ambassador will soon become a player in a greater conflict. There is more at stake than a turf war on a newly discovered world. An ancient Uvovo temple hides access to a hyperspace prison, housing the greatest threat sentient life has ever known. Millennia ago, malignant intelligences were caged there following an apocalyptic war. And their servants work on their release. However, Darien’s guardians have not been idle, gathering resistance on the planet’s forest moon. Knowledge has been lost since great races battled in eons past, and now time is short. The galaxy will depend on the Uvovo reclaiming their past – and humanity must look to its future. For a new war is coming.‘

Already picked up in both France and Germany, Zeno still has other rights available for this superb series, described by Iain M. Banks as ‘Proper galaxy-spanning Space Opera‘ – so drop us a line if you’d like to make an enquiry. Additionally, we’re going to be at this year’s London Book Fair, so be sure to come and chat to us about it!

• Ian R. MacLeod: Multi-award winner Ian R. Macleod’s story Second Journey of the Magus is the main featured fiction in the Winter 2010 issue of Subterranean Online.

• Elizabeth Moon: A long excerpt from SHEEPFARMER’S DAUGHTER (the prologue and first two chapters, no less!) the first in the DEED OF PAKSENARRION series, is available at the Orbit web site, promoting their recently released omnibus edition (see this previous post).

• Lavie Tidhar: The Feb 2010 #41 issue of Clarkesworld Magazine has Lavie’s brand new story The Language of the Whirlwind. There are also back issue links to two other stories by Lavie, The Dying World and 304 Adolph Hitler Strasse. And if you want more by Lavie, check out this link at Free Speculative Fiction Online, which should keep you going for a bit!

• Aliette De Bodard: Aliette has a page on her website with a fistful of links to stories she has dotted about the internet. Well worth the effort.